Mr. Peabody & Sherman: Short and Sweet

With its 2012 acquisition of the Classic Media library, animation juggernaut DreamWorks Animation opened the door to reintroducing a number of revered properties, and the first of many future adaptations was none other than Mr. Peabody & Sherman.  The kid-and-canine time travelers enjoyed a heyday of popularity in the 1960s thanks to recurring segments on The Rocky and Bullwinkle Show, but appealing to today’s market was still going to prove tricky.  Rising to the challenge, the marketing team used traditional promotional partnerships with McDonald’s, aggressive outdoor advertising, and brilliant custom animation spots (featured everywhere from Sochi to Modern Family syndication) to ensure that the distinctive bow tie and lenses were around every corner.  Factor-in the added appeal of an all-star voice cast that included Ty Burrell and Stanley Tucci, and mass awareness could quickly shift to anticipation for the “Dogfather of All Comedies.”  DreamWorks Animation has had a bit of a messy track record with non-franchise properties lately, but with the pedigree of this particular production team, there was a distinct chance that audiences would embrace this historical quest.

Cute, clever, and downright heartwarming, Mr. Peabody & Sherman is a fun adventure sure to charm older audiences and teach younger viewers a few “fun facts” about history…all while delivering plenty of laughs along the way.  Ty Burrell is endearing and instantaneously likable as the smartest living being in the world, but the real scene stealer is Max Charles as Sherman, conveying a sense of innocence that director Rob Minkoff deftly uses to legitimize the father and son dynamic and tug at the heart strings.  In terms of the animation, the time-travel sequences in the WABAC are more than enough to justify shelling-out a few extra dollars for some 3D glasses.  And granted, a good portion of the better jokes will go over kids’ heads, and bully/antagonist Penny goes a little too dark to earn redemption, but that doesn’t take away from overall enjoyment.  Bottom line: if you’re looking for a smart and enjoyable time at the theater, don’t let yourself miss Mr. Peabody & Sherman.

For more information, please read the full review. 

   

Overall Recommendation: Very High

Mr. Peabody & Sherman: Full Review

Mr. Peabody & Sherman - (March 7^th, 2014): PG

Distributor: 20^th Century Fox

Opening Weekend Box Office: #2 with $32,207,057

Domestic Box Office Gross to-date: $68,168,669

Gross Revenue: $153,168,669

Production Budget: $145 million

Director: Rob Minkoff

 

It is easy to question the wisdom of selecting Mr. Peabody & Sherman as the first Classic Media property to receive feature-length treatment, especially given the overall lack of familiarity amongst today’s youth with the characters, but the production team sure had history working in their favor.  Director Rob Minkoff is best known for having delivered The Lion King, while Tiffany Ward, daughter of legendary animator and original series creator Jay Ward, served as executive producer; needless to say, this team was more than capable of delivering award-caliber material that would respect an unchallenged legacy of excellence.  Now, originally, a Rocky and Bullwinkle short was to accompany Mr. Peabody & Sherman in theaters and would have provided an excellent marketing hook, but it was eventually swapped-out for “Almost Home,” an introduction to DreamWorks’ upcoming November release…while I do understand the wisdom of this tactical decision, it still seemed like a missed opportunity to appeal to the nostalgia of older potential audiences.  The recent restructuring of the studio’s Consumer Products division was going to limit the amount of merchandise on shelves, but that didn’t stop other marketing initiatives and promotional materials from picking up the slack, whether that involved the numerous bus stop ads or the hysterical television spots that played to the funny bone of dog lovers (my personal favorite involved Peabody struggling to make Sherman a peanut butter sandwich).  And so, despite a few marketing tactics arriving to the gate a little late, awareness was high and early critical reaction was strong, meaning that Mr. Peabody & Sherman could definitely surprise everyone at the box office.

Based on the classic Peabody’s Improbable History cartoons, Mr. Peabody & Sherman introduces audiences to the smartest living being in the world, the bespectacled talking canine, Mr. Peabody (Ty Burrell): not only is this Nobel Laureate an accomplished Olympic Athlete, but he is also responsible for other pop-culture phenomena like Zumba and the fist bump.  Yearning for family, Peabody adopts and raises a human boy, Sherman (Max Charles), and together, the two use a revolutionary time machine known as the WABAC (pronounced “way back”) to travel through history and learn alongside legendary figures.  Unfortunately, Sherman soon runs afoul of classmate Penny Peterson (Ariel Winter), and after a bullying incident, Peabody’s parenting skills are called into question by Children Services agent Mrs. Grunion (Allison Janney); the bigoted bureaucrat threatens to remove Sherman from Peabody’s care if he fails an upcoming inspection.  Desperate to resolve the conflict, Peabody arranges a dinner party with the Petersons; though the sophisticated host is able to charm Penny’s parents, Paul (Stephen Colbert) and Patty (Leslie Mann), the children are placed in danger after Sherman ends up revealing the family secret and joyrides with Penny in the WABAC, only to lose his tormentor in Ancient Egypt.  Working together, Peabody and Sherman begin to search for Penny, embarking on an adventure that takes them everywhere from Renaissance Florence with Leonardo da Vinci (Stanley Tucci) to the Trojan War with King Agamemnon (Patrick Warburton)…but remember, time travel ALWAYS has unintended consequences!

As a fan of the original cartoon, I had some pretty high expectations for Mr. Peabody & Sherman, and between the brilliant humor and downright lovable characters, I am happy to report that this feature offers plenty of enjoyment for audiences of all ages.  Ty Burrell’s comedic timing is beyond reproach on Modern Family, and the talented actor brings the same goofy charm to Mr. Peabody in order to earn a chuckle from even the corniest of puns.  And then there’s Max Charles, who is so incredibly earnest and innocent as Sherman that you cannot help but become instantaneously engaged and share in his curiosity as he acts as the audience proxy.  The two characters play perfectly together, share a genuinely tender father-son dynamic (The “Beautiful Boy” sequence is heartwarming), and pave the way for the virtually non-stop humor that covers the entire spectrum of gag from pratfall to obscure historical reference.  Thank God I paid attention in European History, or the best jokes would have been lost.  Consider the added benefit of sharp writing, dynamic settings, and the supportive vocal talents of Stanley Tucci and Patrick Warburton (sure-fire audience favorites), and Mr. Peabody & Sherman holds-up against even the most pessimistic of criticisms.

Though I could go on and on about all the ways I enjoyed Mr. Peabody & Sherman, in the name of balance, I must acknowledge a few of the weaker elements, but rest assured that none are particularly damaging to the quality of the final product.  While the titular characters are thoroughly enjoyable, I do have a bit of a problem with the tritagonist, Penny Peterson; I understand that a bully was needed as a MacGuffin to start our adventure, but this girl has such a toxic introduction that her redemptive story arc is a little insulting.  Now, that’s certainly not a criticism of Ariel Winter’s vocal performance, and my attitude towards the character did soften during my second viewing, but be warned that dear little Penny isn’t likely to leave a positive impression.  A second criticism involves the perceived overuse of obscure humor: history majors will love the references, but a majority of kids will miss the gags on historical figures and the blink-and-you miss it cameos…but really, we’d all be worried if the little moviegoer next to us actually understood the Oedipus joke, so why not embrace the innocence?  In the end, the movie still teaches that bullying is bad, shows that history can be fun, and is far smarter than a majority of what kids are watching today anyways, so a trip to the theater is well worth your time.

As I mentioned earlier, non-franchise properties have had a bit of a rocky time at the box office lately, so a second place opening of $32 million was a little worrisome, especially since it was behind something so decidedly subpar as 300: Rise of An Empire.  But then, something very rare happened: the family comedy with a historical twist jumped to a #1 ranking in its SECOND weekend, benefitting from positive word of mouth to boast only a 32% week-to-week decline…to put that number into context, consider that such a holdover is better than both The Croods and How to Train Your Dragon.  Competition does increase a bit in coming weeks with Disney’s Muppets Most Wanted and Blue Sky’s Rio 2, but foreign receipts should continue to help chip away at the $145 million production budget.  Looking forward, I can only hope to see more of Peabody and Sherman in the future, be it on television or on the big screen…and let’s not forget the wonderful myriad of books on their way from DreamWorks Press!  So, do yourself a favor and make a point of revisiting some classic characters as they revisit some classic times in Mr. Peabody & Sherman.

      

Overall Recommendation: Very High

The Wolf of Wall Street: Short and Sweet

If there is one decision by the Academy of Motion Picture Arts and Sciences widely acknowledged as a source of derision amongst both film fans and industry insiders, it involves Leonardo DiCaprio having never received an Oscar for his work.  That controversial status quo was set to be severely shaken by The Wolf of Wall Street, the controversial black comedy that would represent the fifth collaboration between director Martin Scorsese and DiCaprio and provide the talented actor with what looked like a career-defining role.  The Christmas Day release boasted a wild and humorous trailer, and with a supporting cast that included Jonah Hill and Matthew McConaughey, audiences were preparing for an energetic cinematic gift.  As a lifelong fan of Martin Scorsese, I couldn’t wait for his newest project, and I could have cared less about the polarized reactions from certain critics and audiences who bemoaned the morals depicted.  Like a number of other holiday releases, The Wolf of Wall Street would undoubtedly garner a lot of Awards Season attention, but aside from delivering a good film, it also became clear that DiCaprio and Scorsese would be delivering a genuinely fun time at the theater.

As the end credits began to roll, I sat in the theater utterly speechless, because The Wolf of Wall Street is now not only my favorite film of 2013, but it is also a serious contender to replace Goodfellas as my favorite Martin Scorsese film.  Hysterical, irreverent, and filled with insanity from beginning to end of its gargantuan 3-hour running time, this dark comedy pulls no punches while also delivering a sobering character study and social commentary.  Leonardo DiCaprio removes all professional boundaries, showcasing previously hidden comedic talents and adding even more energy to his already talented supporting cast.  Jonah Hill continues to evolve as a powerhouse cinematic presence, Matthew McConaughey electrifies his limited screen time, and newcomer Margot Robbie sizzles in every one of her scenes.  Arguing the morals of a Scorsese film about a convicted white collar criminal is akin to criticizing a Tarantino film for violence; as long as you prepare for an R-rating, sit back and enjoy The Wolf of Wall Street.

  

Overall Recommendation: Very High

The Wolf of Wall Street: Full Review

The Wolf of Wall Street - (December 25^th, 2013): R

Distributor: Paramount Pictures

Opening Weekend Box Office: #5 with $18,361,578

Domestic Box Office Gross to-date: $63,125,467

Gross Revenue: $63,125,467

Production Budget: $225 million

Director: Martin Scorsese

 

Gangs of New York, The Aviator, The Departed, and Shutter Island; anytime Martin Scorsese and Leonardo DiCaprio combine forces, the result is cinematic gold, so based on that history alone, the announcement of their collaboration on The Wolf of Wall Street set the ball rolling on some huge expectations.  For all of his strong performances, DiCaprio has been repeatedly overlooked for Oscar recognition, so one of the first associations related to news of a Christmas-release Scorsese project had to involve the hope that the talented actor would deliver a golden statue-demanding performance.  The actor-director combination alone was more than enough to guarantee ticket sales, but an equally-intriguing development related to the casting of Jonah Hill, who shed the raunchy-comedy typecast in 2011’s Moneyball and now seemed to have developed considerable co-star chemistry with DiCaprio.  Given current public perception of the financial market and the ever-expanding wealth gap, the time was ripe for Scorsese and Boardwalk Empire screenwriter Terrence Winter to deliver a stinging an unforgiving narrative focusing on white collar criminal Jordan Belfort, who was convicted for securities fraud and money laundering in 1998.  The trailer looked fantastic and early critical reaction acknowledged the overall quality of the film despite the polarizing and controversial subject elements, so really, what wasn’t there to love about the potential for The Wolf of Wall Street?

Opening in 1987, The Wolf of Wall Street introduces audiences to young and ambitious stockbroker Jordan Belfort (Leonardo DiCaprio) as he begins his first day on Wall Street; the wide-eyed professional receives some very dubious tips career tips from his boss, Mark Hanna (Matthew McConaughey), shortly before he loses his job on Black Monday.  Searching for any opportunity in a tight market, Jordan finds work in a small-time investor center that deals in penny stocks, but soon enough, his aggressive pitch and sales tactics earn him a sizable fortune.  After Jordan befriends his neighbor and fellow salesman Donnie Azoff (Jonah Hill), the two decide to open their own firm, Stratton Oakmont, which soon transforms into a billion-dollar company characterized by lavish parties and questionable financial record-keeping.  Jordan soon embraces a lifestyle of drugs, prostitutes, and alcohol, eventually leaving his loving wife for supermodel Naomi Lapaglia (Margot Robbie), whom he subsequently marries and exposes to lavish amenities as his financial empire grows.  However, even after moving a majority of his funds to a Swiss bank account to be laundered by Jean-Jaques Saurel (Jean Dujardin), Jordan cannot escape investigation from the FBI and SEC for securities fraud, especially since lead agent and straight arrow Patrick Denham (Kyle Chandler) is determined to ruin the “untouchable” white collar criminal.

Between its unhinged performances, its manic energy, and it’s downright irreverent and hysterical tone, The Wolf of Wall Street is an immoral three hour thrill ride that showcases the worst kind of behavior in the best possible way.  It wasn’t much of a surprise to see DiCaprio flex range across the dramatic scenes, but this was the first instance I would ever classify the popular star as funny…the scene where he overdoses on Quaaludes is an undeniable riot of physical comedy that shouldn’t be missed.  The supporting cast runs on all cylinders as well, with Jonah Hill showcasing a growing cinematic maturity as he disappears into a considerably complex character; while Matthew McConaughey leaves an indelible mark despite not appearing beyond the first half hour.  And let’s not forget Margot Robbie, who first scorches onto screen as eye candy but then surprisingly holds her own against the veteran cast as she continues to sizzle; I can only imagine how Google Searches for the newcomer exploded after opening weekend.  Add-in the expert pacing and direction of Scorsese, and it is no surprise that I absolutely adored The Wolf of Wall Street, and upon closer inspection, I think that a majority of criticism crumbles.

It would be a true Martin Scorsese project if it didn’t ruffle a few feathers after release, and The Wolf of Wall Street is no exception…polarizing audiences and thoroughly disgusting more conservative viewers and critics.  Make no mistake, this black comedy earns its R-rating in spades, featuring the worst possible behavior that would result from immoral business practices and unimpeded financial success, but really, why would you expect any different from a Scorsese character study?  Yes, the film sheds an ugly light on Wall Street, but just because someone finds it offensive doesn’t change the fact that white collar crime exists; Jordan Belfort was a criminal, he was punished for his crimes, and no one should apologize for the fact that it was fun as hell to watch.  One cannot be faulted for walking into a Scorsese project expecting a serious movie, but within the first two minutes, it is blatantly obvious that this movie shouldn’t be taken too seriously, so anyone offended needs to relax and just enjoy the mayhem.  So, it may be offensive and crude, but nothing about The Wolf of Wall Street is anything less than utterly brilliant filmmaking.

Some may be disgusted by the subject matter of The Wolf of Wall Street, but the only thing that disgusts me is that this remarkably entertaining isn’t making more of a splash at the box office, because it deserves to shatter records.  Given the glut of five Christmas Day releases, a fifth place debut of $18 million is nothing to sneer at…what a shame that weaklings like 47 Ronin and The Secret Life of Walter Mitty split the audience.  Some potential moviegoers may have been dissuaded by the well-publicized three hour running time, but trust me when I say that you won’t feel drained or unengaged for a second.  To-date, this most recent Scorsese-DiCaprio collaboration has only earned $63 million in ticket sales against a $100 million production budget; and for such a strong movie to face a potential loss is a travesty.  Looking forward, all I can do is encourage readers to head to the theater, pre-order my Blu-Ray copy, and wait for both star and director to cash-in come Awards Season.

         

Overall Recommendation: Very High